=== CONTENT NOTES ===
Provide SESSION NOTES on each song TEMPO, KEY, and LYRICS if possible. Advise if a TEMPO MAP is a feature. Mix session tempo is vital for bar-based editing.

=== COMMON START POINT – VITAL ===
*** When recording or bouncing tracks, execute from a COMMON START POINT. Use a dedicated workflow to guarantee a sample-accurate common start point. Be careful not to clip the head in choosing a common start point. (Choosing a “round bar” common start point such as 1|1|0 or 17|1|0 can be helpful for editing/mixing to the bars+beats grid.)

=== COMMON END POINT OPTIONAL ===
Common end point is fine if convenient for workflow, but not required. Better file size economy to record only until the end of the program material.

=== MASTER CHAIN OFF ===
*** (Except in the case of #6 above) ==ALWAYS TURN OFF== all master buss plugins, dither, and automation. Set the master fader level to 0VU. This allows clean unadulterated 0VU printing of stems to the original mix reference – a snapshot of the tracks “in situ”. MASTER CHAIN OFF IS VITAL: a dynamics processor left active on the master buss will completely change the level relationship among the elements that we are striving to preserve.

=== DON’T CONVERT ON EXPORT ===
*** Export files at the ORIGINAL SAMPLE RATE / QUANTIZATION. Do not “downconvert” 48kHz/24bit to 44.1kHz/16bit accidentally or intentionally. CHECK ALL EXPORT SESSION SETTINGS. Don’t “upconvert” eg. 48kHz/24bit to 96kHz/24bit for delivery. We will do any conversions necessary.

=== CONCERNING MONO TRACKS ===
Exporting mono-as-mono and stereo-as-stereo can create level-reference question marks. To preserve level relationships, it is best to export all elements as STEREO.

**** ZIP ALL FOLDERS FOR TRANSFER. THIS IS ABSOLUTELY ESSENTIAL. ****
.zip compression is the only way to verify file integrity on PCM audio files. .zip compression can cut file sizes and transfer times in half. Multibeat offers an FTP server for private, secure file transfer.

After the recording session is complete, the DAW session including the raw files is delivered. If we don’t have the same DAW as the record session, an OMF/AAF archive can be exported to preserve the shape of the session, clip gain, etc. If OMF/AAF is not an option, raw tracks can be re-recorded, exported or bounced at a common start point.

See “NOTES ON ALL FORMATS” above for details.

It is vital in this case that all plugins, dither and automation on ALL TRACKS including the MASTER BUSS are *DISABLED*; all faders including master fader set to 0VU default.

If recording multiple takes across playlists and a DAW session is not provided, the playlists must be recorded out to individual tracks as well.

As an alternative, it can be time-efficient to DSP-duplicate tracks in the timeline to re-create a set of clean raw record tracks; this saves worrying about the audio chain as well.

The goal of providing raw record tracks is to create a mixable 1:1 snapshot of the raw recording session, cleaned and prepared for the mixer.

In cases where a mix is underway and passes from Mixer A to Mixer B, processed individual tracks are exported. These processed tracks may include: editing of the raw record tracks, waveform editing, clip gain, volume automation, insert plugins, aux sends to buss-fx, plug-in automation, etc. In other words, the goal of providing processed individual tracks is to preserve the totality of each track’s evolved contribution in the final mix.

VOLUME AUTOMATION: Printing audio with significantly complex volume automation means it will be “baked in”; decide if best to bake-in the automation for Mixer B, or disable it so that Mixer B has more flexibility. If delivering a Pro Tools session, it is also possible to apply Mixer A track volume automation to the re-recorded parts for Mixer B.

BUSS-FX DECISIONS: Buss-FX are common sends to reverb, delay, etc. If possible, it is best for flexibility to record out the dry part (dry meaning processed with insert plugins but not reverb etc) separately and the bussfx *wet-only* separately. eg:

(A suggested way to do this is to send the tracks themselves to a dry-record buss, and send the buss-fx-sum submix to a wet-record buss.)

On enormous sessions this may drive the track count too high. Exporting parts with buss-fx applied is certainly possible; keep in mind the “tying of the hands” of Mixer B.

MASTER BUSS FX *DISABLED*: The relationship between all tracks must be preserved therefore it is vital that all plugins, dither and automation on the MASTER BUSS are *DISABLED*; the master fader set to 0VU default. This will guarantee clean and level-appropriate export of the processed parts.

The delivery of processed individual tracks is a zipped folder of common start time stereo audio files (any of: dry, wet, dry+wet), which when dropped onto the timeline of a DAW with all faders at 0VU, presents the sound of the “unmastered” mix.

It provides total mix flexibility for Mixer B and/or the mastering engineer, and is a perfect snapshot of Mixer A’s efforts up to that point.

Stems are SUBMIXED GROUPS of the song elements, components comprising the final unmastered mix. Groups such as drums, basses, guitars, keys, backup vocals, vocals are submixed with all of their plugins, automation and even submix buss automation intact.

Stems can be used for creating instumentals or a cappella versions, creating extended versions or delivery for creative remix.

Delivery of processed 0VU stems is a zipped folder of common start time stereo audio files, which when dropped onto the timeline of a DAW with all faders at 0VU presents an exact snapshot of the sounds of the “unmastered” mix.

EVERYTHING ON, EXCEPT MASTER BUSS *DISABLED*: The groups are captured just before the master buss, so all the plugins, dither, volume automation, etc, everything that makes the mix sing is turned ON. However, the relationship between all tracks must be preserved therefore it is vital that all plugins, dither and automation ON THE MASTER BUSS ARE *DISABLED*; the master fader set to 0VU default. This will guarantee clean and level-appropriate export of the processed parts through the master buss.

The choice of which stems are created depends on the particular application or reason for stem-creation. At the most complex, where every track is archived, see “2. PROCESSED INDIVIDUAL TRACKS” above. At the most minimal, see “4. PROCESSED 0VU STEMS – MINIMAL” below. Whereas fine-grained stems allow for good archiving and mix-access, they take more time to generate. Best to only generate what is needed.

On mastering projects, such stems are very helpful – even when they sit at 0VU and are completely untouched, they go through our analog summing channels (yummy!) and mastering nudges at the part-level, if necessary, are easy to access.

*** For mastering projects where Multibeat requests stems, this is for an added layer of contingency/control. It can be good to access the drums without ruining the vocals for instance. All stems are locked to 0VU, no plugins, analog summing only (and only sometimes), with only a few nudges against mastering issues.

Please contact in all cases about appropriate stemming.

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5. FINAL MIX WITH NO MASTER BUSS FX (QUIET/UNMASTERED)

See “NOTES ON ALL FORMATS” above for details.
See “3. PROCESSED 0VU STEMS – EXPANDED” above for notes on stems-for-mastering.

This is the common export situation for a regular mastering job. Whereas stemming can help for a perfect master, traditionally the final mix out of the ‘board’ with no mastering EQ, compression, limiters is provided as the mixer’s presentation. We prefer to secure mix perfection through having access to untouched 0VU stems.

It is vital that all plugins, dither and automation on the MASTER BUSS are *DISABLED*; the master fader set to 0VU default. This will guarantee clean and level-appropriate export of the unmastered final mix. Do not sample-rate/quantize convert; deliver files at your working specs.

The mixer may send a “loud” or “mastering chain ON” mix as well to demonstrate final mastering suggestions. This is a better plan than including partial, or low-level, mastering enhancements in the unmastered delivery. eg. compressing the unmastered 2-mix.

The goal of providing an unmastered final mix to mastering allows the mastering engineer to create a technically precise and controlled master recording that sounds as-similar-as-possible and acoustically-pleasing on every system.